雅思考試機經2018年7月21日雅思閱讀考情回顧一、 考試時間：2018年7月21日（周六）二、 考試概述：本次考試兩新一舊，而且兩篇舊題都屬于經典題庫素材。進入到7月后，雅思考試似乎又恢復了去年下半年的狀態，大量舊題涌現，這對于考生來說不啻為一個備考的好消息。第一篇文章What do managers really do? 介紹經理的三種不同職責，這是2015年2月12日和2016年4月21日的考題，劍六第三套第二篇可作為參考。第二篇Australian camouflaged creatures 介紹澳洲的動物偽裝，說起來，介紹動物行為的文章，在每一本真題集中都能找到一兩篇。第三篇Graffiti in New York是2012年8月25日和2014年12月6日的考題，介紹的是紐約如何管控和引導涂鴉藝術。三、文章簡介Passage 1: What do managers really do? 經理是做什么的Passage 2: Australian camouflaged creatures 澳洲的動物偽裝Passage 3: Graffiti in New York，紐約的涂鴉四、篇章分析：Passage 1：文章內容主要講關于manager的新研究及研究結果。介紹管理學大師Henry Mintzberg的經理角色理論。有一個人將經歷職責分為三類，一類和人力有關，第二類和信息戰有關，第三類涉及到做決策（make decision ）題型分布與答案參考1-6 配對1. The development of business scheme C2. Presiding in formal events A3. Using employees and funds C4. Getting and passing message on to related person B5. Relating the information to employees B6. Recruiting the staff A7-8 多選Which TWO positive functions about Minzhengs research are mentioned?7.B clear to define the role of a manager8.E makes a fresh way for further research9-13判斷9. False10.True11.NOT GIVEN12.all the managers do the same work FALSE13.Minzeng 的理論在未來研究領域沒用 FALSE相關拓展What the Managers Really Do? When students graduate and first enter the workforce, the most common choice is to find an entry-level position. This can be a job such as an unpaid internship, an assistant, a secretary, or a junior partner position. Traditionally, we start with simpler jobs and work our way up. Young professionals start out with a plan to become senior partners, associates, or even managers of a workplace. However, these promotions can be few and far between, leaving many young professionals unfamiliar with management experience. An important step is understanding the role and responsibilities of a person in a managing position. Managers are organisational members who are responsible for the work performance of other organisational members. Managers have formal authority to use organisational resources and to make decisions. Managers at different levels of the organisation engage in different amounts of time on the four managerial functions of planning, organising, leading, and controlling. However, as many professionals already know, managing styles can be very different depending on where you work. Some managing styles are strictly hierarchical. Other managing styles can be more casual and relaxed, where the manager may act more like a team member rather than a strict boss. Many researchers have created a more scientific approach in studying these different approaches to managing. In the 1960s, researcher Henry Mintzberg created a seminal organisational model using three categories. These categories represent three major functional approaches, which are designated as interpersonal, informational and decisional. Introduced Category 1: INTERPERSONAL ROLES. Interpersonal roles require managers to direct and supervise employees and the organisation. The figurehead is typically a top of middle manager. This manager may communicate future organisational goals or ethical guidelines to employees at company meetings. They also attend ribbon-cutting ceremonies, host receptions, presentations and other activities associated with the figurehead role. A leader acts as an example for other employees to follow, gives commands and directions to subordinates, makes decisions, and mobilises employee support. They are also responsible for the selection and training of employees. Managers must be leaders at all levels of the organisation; often lower-level managers look to top management for this leadership example. In the role of liaison, a manager must coordinate the work of others in different work units, establish alliances between others, and work to share resources. This role is particularly critical for middle managers, who must often compete with other managers for important resources, yet must maintain successful working relationships with them for long time periods. Introduced Category 2: INFORMATIONAL ROLES. Informational roles are those in which managers obtain and transmit information. These roles have changed dramatically as technology has improved. The monitor evaluates the performance of others and takes corrective action to improve that performance. Monitors also watch for changes in the environment and within the company that may affect individual and organisational performance. Monitoring occurs at all levels of management. The role of disseminator requires that managers inform employees of changes that affect them and the organisation. They also communicate the companys vision and purpose. Introduced Category 3: DECISIONAL ROLES. Decisional roles require managers to plan strategy and utilise resources. There are four specific roles that are decisional. The entrepreneur role requires the manager to assign resources to develop innovative goods and services, or to expand a business. The disturbance handler corrects unanticipated problems facing the organisation from the internal or external environment. The third decisional role, that of resource allocator, involves determining which work units will get which resources. Top managers are likely to make large, overall budget decisions, while middle managers may make more specific allocations. Finally, the negotiator works with others, such as suppliers, distributors, or labor unions, to reach agreements regarding products and services. Although Mintzbergs initial research in 1960s helped categorise manager approaches, Mintzberg was still concerned about research involving other roles in the workplace. Minstzberg considered expanding his research to other roles, such as the role of disseminator, figurehead, liaison and spokesperson. Each role would have different special characteristics, and a new categorisation system would have to be made for each role to understand it properly. While Mintzbergs initial research was helpful in starting the conversation, there has since been criticism of his methods from other researchers. Some criticisms of the work were that even though there were multiple categories, the role of manager is still more complex. There are still many manager roles that are not as traditional and are not captured in Mintzbergs original three categories. In addition, sometimes, Mintzbergs research was not always effective. The research, when applied to real life situations, did not always improve the management process in real-life practice. These two criticisms against Mintzbergs research method raised some questions about whether or not the research was useful to how we understand “managers” in todays world. However, even if the criticisms against Mintzbergs work are true, it does not mean that the original research from the 1960s is completely useless. The author did not say Mintzbergs research is invalid. His research has two positive functions to the further research. The first positive function is Mintzberg provided a useful functional approach to analyse management. And he used this approach to provide a clear concept of the role of manager to the researcher. When researching human behavior, it is important to be concise about the subject of the research. Mintzbergs research has helped other researchers clearly define what a “manager” is, because in real-life situations, the “manager” is not always the same position title. Mintzbergs definitions added clarity and precision to future research on the topic. The second positive function is Mintzbergs research could be regarded as a good beginning to give a new insight to further research on this field in the future. Scientific research is always a gradual process. Just because Mintzbergs initial research had certain flaws, does not mean it is useless to other researchers. Researchers who are interested in studying the workplace in a systematic way have older research to look back on. A researcher doesnt have to start from the very beginningOlder research like Mintzbergs have shown what methods work well and what methods are not as appropriate for workplace dynamics. As more young professionals enter the job market, this research will continue to study and change the way we think about the modern workplace.Passage 2：文章內容列舉各類動物的隱身的方法，怎樣保護自己或追鋪獵物介紹動物通過偽裝術躲避捕食者，有的偽裝為植物；青蛙則選擇隱藏起來；一種藍色的蝴蝶可以模仿其他動物，并一起協作，躲避捕食者的同時捕捉獵物題型分布與答案參考14-18 段落標題配對C. An example that soundG. A creature use color to match different backgroundD. A species that push their young to move to other place.A. A claim that a majority of animals to adapt the backgroundB. An example that pretend as plant.19-21 填空題19.studied on blue butterfly on reefs20.get rid of predator21. get close to prey22-26人名理論配對22. C23. B24. F25. A26. E相關拓展Camouflage, also called cryptic coloration, is a defense or tactic that organisms use to disguise their appearance, usually to blend in with their surroundings. Organisms use camouflage to mask their location, identity, and movement. This allows prey to avoid predators, and for predators to sneak up on prey.A species camouflage depends on several factors. The physical characteristics of the organism are important. Animals with fur rely on different camouflage tactics than those with feathers or scales, for instance. Feathers and scales can be shed and changed fairly regularly and quickly. Fur, on the other hand, can take weeks or even months to grow in. Animals with fur are more often camouflaged by season. The arctic fox, for example, has a white coat in the winter, while its summer coat is brown. The behavior of a species is also important. Animals that live in groups differ from those that are solitary. The stripes on a zebra, for instance, make it stand out. However, zebras are social animals, meaning they live and migrate in large groups called herds. When clustered together, it is nearly impossible to tell one zebra from another, making it difficult for predators such as lions to stalk an individual animal.A species camouflage is also influenced by the behavior or characteristics of its predators. If the predator is color-blind, for example, the prey species will not need to match the color of its surroundings. Lions, the main predator of zebras, are color-blind. Zebras black-and-white camouflage does not need to blend in to their habitat, the golden savanna of central Africa.Environmental and behavioral factors cause species to employ a wide variety of camouflage tactics. Some of these tactics, such as background matching and disruptive coloration, are forms of mimicry. Mimicry is when one organism looks or acts like an object or another organism.Background matching is perhaps the most common camouflage tactic. In background matching, a species conceals itself by resembling its surroundings in coloration, form, or movement. In its simplest form, animals such as deer and squirrels resemble the “earth tones” of their surroundings. Fish such as flounder almost exactly match their speckled seafloor habitats. More complex forms of background matching include the camouflage of the walking stick and walking leaf. These two insects, both native to southeast Asia, look and act like their namesakes. Patterns on the edge of the walking leafs body resemble bite marks left by caterpillars in leaves. The insect even sways from side to side as it walks, to better mimic the swaying of a leaf in the breeze. Another camouflage tactic is disruptive coloration. In disruptive coloration, the identity and location of a species may be disguised through a coloration pattern. This form of visual disruption causes predators to misidentify what they are looking at. Many butterflies have large, circular patterns on the upper part of their wings. These patterns, called eyespots, resemble the eyes of animals much larger than the butterfly, such as owls. Eyespots may confuse predators such as birds and misdirect them from the soft, vulnerable part of the butterflys body.Other species use coloration tactics that highlight rather than hide their identity. This type of camouflage is called warning coloration or aposematism. Warning coloration makes predators aware of the organisms toxic or dangerous characteristics. Species that demonstrate warning coloration include the larva and adult stages of the monarch butterfly. The monarch caterpillar is brightly striped with yellow, black, and white. The monarch butterfly is patterned with orange, black, and white. Monarchs eat milkweed, which is a poison to many birds. Monarchs retain the poison in their bodies. The milkweed toxin is not deadly, but the bird will vomit. The bright coloring warns predator birds that an upset stomach is probably not worth a monarch meal.Another animal that uses aposematism is the deadly coral snake, whose brightly colored rings alert other species to its toxic venom. The coral snakes warning coloration is so well known in the animal kingdom that other, non-threatening species mimic it in order to camouflage their true identities. The harmless scarlet king snake has the same black, yellow, and red striped pattern as the coral snake. The scarlet king snake is camouflaged as a coral snake.Countershading is a form of camouflage in which the top of an animals body is darker in color, while its underside is lighter. Sharks use countershading. When seen from above, they blend in with the darker ocean water below. This makes it difficult for fishermenand swimmersto see them. When seen from below, they blend in with lighter surface water. This helps them hunt because prey species below may not see a shark until its too late.Countershading also helps because it changes the way shadows are created. Sunlight illuminates the top of an animals body, casting its belly in shadow. When an animal is all one color, it will create a uniform shadow that makes the animals shape easier to see. In countershading, however, the animal is darker where the sun would normally illuminate it, and lighter where it would normally be in shadow. This distorts the shadow and makes it harder for predators to see the animals true shape.Passage 3：文章內容講述18-19世紀紐約街道隨處可見涂鴉；開頭段引入一個概念“broken window”，表示涂鴉在某種程度上體現犯罪率，因此需要整治；后文不同的人，關于涂鴉表達不同的觀點，包括市長-政府人員/涂鴉藝術家等 題型分布與答案參考27-30 選擇27.B關于“破窗效應”的觀點表述正確的是：涂鴉表示more crime28.D為什么紐約會最早出現大規模涂鴉很多的年輕人在這里29.A文中某一個人對涂鴉的觀點需要給年輕人一個合理的地方和渠道去涂鴉30D.31-35 判斷31. NO 32. YES 33. NOT GIVEN 34. YES 35. NO36-40）人名理論配對36. B37. H38. G39. E40. F相關拓展Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as De Zoot, Vendex, and Dr Rat. To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as Lennui est contre-rvolutionnaire (Boredom is counterrevolutionary) and Lisez moins, vivez plus (Read less, live more). While not exhaustive, the graffiti gave a sense of the millenarian and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.The developments of graffiti art which took place in art galleries and colleges as well as on the street or underground, contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s a growing number of artists are switching to non-permanent paints for a variety of reasonsbut primarily because is it difficult for the police to apprehend them and for the courts to sentence or even convict a person for a protest that is as fleeting and less intrusive than marching in the streets. In some communities, such impermanent works survive longer than works created with permanent paints because the community views the work in the same vein as that of the civil protester who marches in the streetsuch protest are impermanent, but effective nevertheless.In some areas where a number of artist share the impermanence ideal, there grows an informal competition. That is, the length of time that a work escapes destruction is related to the amount of respect the work garners in the community. A crude work that deserves little respect would be invariably removed immediately. The most talented artist might have works last for days.Artists whose primary object is to assert control over propertyand not primarily to create an expressive work of art, political or otherwiseresist switching to impermanent paints.Contemporary practitioners, accordingly, have varied and often, conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each others practices. The anti-capitalist art group, the